Follower of Francisco José de Goya y Lucientes

Casino Principal, Saragossa;
Don Carlos de Haes, Madrid;
J. Boehler, Munich;
Gimpel & Wildenstein, Paris;
With Wildenstein & Co., New York;
Saint Louis Art Museum;
By whom sold, New York, Sotheby's, April 17, 1986, lot 29, for $10,500.

New York, Brooklyn Museum, Exhibition of Spanish Painting, October 4-31, 1935, no. 22, reproduced;
New York, Wildenstein & Co., Goya 1746-1828, November 9-December 30, 1951, no. 1, reproduced, p. 6, as circa 1771;
Bordeaux, Municipalite de Bordeaux, Goya 1746-1828, May 15-June 30, 1951, catalogue by G. Martin-Hery, no. 3, as painted at Saragossa;
Basel, Basel Kunsthalle, Goya: Gemalde, Zeichnungen, Graphik, Tapisserien, January 23-April 12, 1953, no. 2, as circa 1780;
Boston, circulated by Smithsonian Institute, Goya Drawings and Prints, 1955, not in catalogue;
Omaha, Joslyn Art Museum, Notable Paintings from Midwestern Collections, November 30, 1956-January 2, 1957, no. 2;
Milwaukee, The Milwaukee Art Institute, An Inaugural Exhibition: El Greco, Rembrandt, Goya, Cezanne, Van Gogh, Picasso, September 12-October 20, 1957, no. 59, reproduced p. 39;
New York, Wildenstein & Co., Fifty Masterworks from the City Art Museum of St. Louis, November 6-December 13, 1958, no. 32, reproduced p. 50;
Dallas, Dallas Museum of Fine Arts, The Arts of Man, October 6-December 31, 1962.

Conde de la Vinaza, Goya, Su Tiempo, Su Vida, Sus Obras, 1887, p. 254;
A. Berute y Moret, Goya Pinter de Retratos, 1915, vol. I, pl. 12, pl. I;
A.L. Mayer, Francisco de Goya, 1924, p. 156, pl. 3, cat. no. 290 (as by Goya);
A. Malraux, "Goya", in Art News Annual, 1950, reproduced p. 40;
V. Holland, Goya, a Pictorial Biography, 1961, reproduced p. 14;
J. Chastenet and others, Goya, 1964, p. 32, fig. 1, as circa 1772-74;
Pierre Gassier and Juliet Wilson, The Life and Complete Work of Francisco Goya, 1971, p. 74, no. 26 (mentioned as a replica of the de Zurgena painting);
R. de Angelis, L'Opera Pittorica Completa di Goya, 1974, p. 45, no. 38 (mentioned as a replica of the de Zurgena painting).

Lined canvas. Surface is flat but in good condition. Paint surface is thin on the hair, especially right of face. Under UV light: opaque varnish; inpainting is faintly visible on the hair around the face and the outline along the right side of the face. Possible inpainting in the background at center right.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This painting derives from a Self Portrait by Goya in a private collection, Madrid.